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which are full of elegant usage of colors to show not only flames, but also frozen lakes and coldness. Dramatic lighting enhances the effects of the colors and landscapes which in conjunction with the text tell the story in vivid detail. This display of artistic technique flows into the images after Hell, when Tondal gets to images of
Paradise the colors shift from bright reds and muted blues towards light blues, whites and vibrant greens presenting a calmer harmonious feel. The images after Hell are less chaotic and simpler; however they visually exhibit a somber, quiet and elegant feel to Paradise, a strong contrast to the hellish images from before strongly reinforcing the ideas of peacefulness and tranquility.
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Lignerolles, until 1894. The next owner of the Getty Tondal was Joseph Raphaël Vitta, Baron Vitta; he would hold onto it up until 1930 and pass it on to Jean de
Brouwer, Baron de Brouwer, a Belgian. It would soon find itself in the hands of an American Hans P. Kraus Sr. in 1944, having been sold to him via the Librairie FL Tulkens in
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convent of Saint Paul in
Regensberg at this time named Gisela. The monk tells about events that happened during this time that alluding to the possibility that he was an Irish monk and perhaps a visitor to the convent of Saint Paul. Marcus makes reference to two Irish kings that made donations to the
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It was the most widely read of any manuscript predating the story of Dante, which explains why it was translated into major and minor
European languages. It was "the most popular and elaborate text in the medieval genre of visionary infernal literature" and had been translated forty-three times into
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display a large variety of techniques and use of color to depict the ideas presented in the text. The images of Hell capture the artist's observations of reality in the form of glowing flames with hot red tips over a dark smoky background. Depictions of strange looking monsters fill the landscapes
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In 1475, Margaret of York, Duchess of
Burgundy commissioned the Getty Tondal manuscript in France. She owned it until 1503. In 1853, Charles-Alexandre de Ganay, the Marquis de Ganay, obtained the manuscript and owned it until 1881. It was then owned onwards by Raoul Léonor Lignerolles, comte de
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The Getty Tondal was commissioned by
Margaret of York, Duchess of Burgundy during the 1470s. During this time she had other works she requested or collected for her own personal reading quarters. She was one of the most powerful women of her time period and as such had access to a variety of
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The pages of the manuscript are laid out with a large image on the top of the page accompanied by text that describe the story taking place and the pictures displayed. Script would be written with black ink upon parchment paper. There are large
Capitals scattered throughout the pages of the
155:, where Marmion was based. Only the fifteen pages with two-column miniatures and five pages with single column miniatures have borders. There are only 45 folios, meaning that most have miniatures. The manuscript is fully available online.
237:, where there was an Irish monastery. It was written by a monk who called himself Marcus in the prologue of the story. The prologue states that the work was commissioned by "Abbess G". and indeed, there was an abbess of the
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manuscript that break up the large blocks of black text on each page. The script on the page also have intricate borders around the sides of the pages. These borders would have parts of it illuminated with gold leaf.
186:. It was then sold to another American named Philip Hofer in 1951. Hofer passed it off to his son, Dr. Myron Arms Hofer, after his death. It was sold to the J. Paul Getty Museum in 1987 where it remains today.
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different methods of attaining manuscripts. She took full advantage of this privilege by commissioning a scribe by the name of David Aubert whose excellent talents in calligraphy can be seen in
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fifteen languages by the 15th century, including
Icelandic and Belarusian. It may have been part of the inspiration for Dante's journey into hell, purgatory and heaven.
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173:. Another person who worked on the miniatures in the book is the illuminator Simon Marmion, who was also patronized at this same time by Margaret's husband.
257:(never so named – the doctrine was still in development), guided by an angel. The experience turns Tondal into a pious man. The story is set in
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The manuscript can be seen at the J. Paul Getty Museum in person or it can be accessed digitally from the official website for the museum.
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In the story, Tondal is a wealthy Irish knight who passes out at a feast and goes into a deep dream-journey through Hell, Heaven and
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Tempera colors, gold leaf, gold paint, and ink on parchment tipped into a binding of wood boards covered with brown calfskin.
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Tempera colors, gold leaf, gold paint, and ink on parchment tipped into a binding of wood boards covered with brown calf
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Hellmouth or the Mouth of Hell, by Simon
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119:. It is a French version and is the only surviving fully illuminated manuscript of the
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Illuminating the
Renaissance: The Triumph of Flemish Manuscript Painting in Europe
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The Wall of Heaven Where the Bad but Not Very Bad Are in Temporary Discomfort
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456:"The Vision of Tundale: Introduction | Robbins Library Digital Projects"
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54:(Published Title) The Visions of the Knight Tondal (Translated Title)
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The Forge of Vulcan; Punishment for Those who Commit Evil upon Evil
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Two Kings of Ireland, Former Enemies, Who Made Peace before Death
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The House of Phristinus; Punishment for Gluttons and Fornicators
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The Torment of Murderers, from Les Visions du Chevalier Tondal
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The Visions of Tondal from the Library of Margaret of York.
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Margaret of York, Simon Marmion, and The Visions of Tondal.
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The Wall of Metals and Jewels surrounding Angels and Saints
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The Good but Not Very Good Are Nourished by a Fountain
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and elaborate borders with "CM" for the initials of
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Ghent, Belgium; Valenciennes, France (Place Created)
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Illuminated manuscripts of the J. Paul Getty Museum
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The Valley of the Perversely Proud and Presumptuous
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405:. Malibu, California: The J. Paul Getty Museum.
329:Demons Dragging Tondal into the Infernal Cistern
317:The Nail-Studded Bridge for Thieves and Robbers
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479:Kren & S McKendrick, 112. 43 from Easting
323:The Beast that Eats Unchaste Priests and Nuns
314:The Beast Acheron, Devourer of the Avaricious
581:Los Angeles, CA: J. Paul Getty Trust, 2012.
556:Visions of the Other World in Middle English
347:The Martyrs and the Pure Sing Praises to God
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344:The Happy Crowds of the Faithfully Married
29:The J. Paul Getty Museum, Los Angeles, CA.
308:The Mountain of Unbelievers and Heretics
233:was created in the south German city of
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574:Malibu, CA, J. Paul Getty Museum, 1992.
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299:Tondal Suffers a Seizure at Dinner
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536:T Kren & S McKendrick (eds),
430:"Les Visions du chevalier Tondal"
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370:Kren & S McKendrick, 112–116
350:The Glory of Good Monks and Nuns
282:The miniatures shown throughout
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107:Les visions du chevalier Tondal
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577:Kren, Thomas and Roger Wieck.
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460:d.lib.rochester.edu
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631:1475 in art
491:Easting, 70
239:Benedictine
206:Description
626:1475 books
605:Categories
531:References
278:Decoration
235:Regensburg
177:Provenance
62:Manuscript
255:Purgatory
518:6 August
219:Contents
184:Brussels
137:Burgundy
83:Material
159:History
583:E-Book
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440:12 May
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164:Origin
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358:Notes
149:Ghent
560:ISBN
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520:2008
467:2020
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407:ISBN
259:Cork
70:1475
67:Date
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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